A "music appreciation" course that celebrates the "ears-on" experience of various aspects of musical performance. Participants develop listening skills through live musical presentations, in-class performances, discussions with the performers and living composers, and guided listening sessions. Students will attend some rehearsals and concerts, including at least one Rochester Philharmonic concert at the Eastman Theatre.

A course for the student with no previous musical experience. Topics covered include notation, intervals, chords, and other basic concepts of tonal harmony, with application to the study of a wide range of styles including popular idioms. Students should not be able to read music.

This course is designed for students with little to no experience leading a musical ensemble. After mastering the basics of baton technique, beat patterns, preparations/ Prerequisites: Ability to read music and proficiency on an instrument or voice (for participation in the small in-class ensemble). This course also addresses the joys and pitfalls of conducting choirs, jazz/popular music ensembles, pit orchestras, and a cappella groups. Each student will be given the opportunity to conduct a large instrumental ensemble as a “final exam.” Assignments will include short readings and research on various aspects of conducting, with the bulk of the course work taking place in class.

Explores the wonderful world of music from Bach to Coolio. Exploring questions such as, "What is music?" and "Why humans make it?" We'll find out what one another of us thinks is musically "mint" and musically "gross" and why. From concert halls to church halls; beer halls to dance halls, we'll go in search of music.

This course is meant to be both a traditional class in music appreciation and a broad survey of Western notated music from its earliest manifestations up to the present day. Early lectures and assignments will help students develop more sophisticated listening skills and a conceptual vocabulary with which to talk about music. We will then focus on representative pieces from each major art-historical period (Medieval, Renaissance, Baroque, Classical, Romantic, Modern, Postmodern) as well as explore how that music functioned and held meaning for the people that composed and listened to it. Exams will test knowledge of repertory and musical style, and short writing assignments will venture into more detailed analyses and interpretations of musical works.

Introduces students to basic musicianship skills. Begins with exercises in pitch matching and basic interval recognition and progresses toward other skills, such as singing simple melodies at sight, sight-reading various rhythmic patterns, and dictating simple melodies and chord progressions. Prospective music majors, especially those with prior singing experience, typically skip this course and begin with MUR 113.

Basic concepts addressing students with previous experience in an instrument or voice and little music theory. Scales, keys, intervals, chords, basic part-writing, and other fundamental aspects of musical structure. Some ear training and aural skills.

The first in a four-course sequence. Deals with basic elements of harmony, voice-leading, and analysis. Part-writing in chorale style teaches elementary aspects of tonal theory. Prospective music majors should begin their theory requirement with this course. Prereq: MUR 101, 110 or permission of instructor (placement test).

Continuation of MUR 111. This course continues with chorale and keyboard-style harmony exercises, but also introduces chromaticism, modulation, and analysis of form and phrase structure. Prerequisite: MUR 111.

This course develops basic musicianship skills with an emphasis of diatonic sight-singing, rhythmic sight-reading, and dictation of diatonic melodies and chord progressions. The exercises and in-class activities are similar to MUR 109 but at a more advanced level. (1 credit)

River Campus student elective course. No previous keyboard instruction and cannot read music. Includes technique, fundamental skills, and repertoire. *Note: limited seating due to keyboard availability, no additional students taken once the sessions are full. Classes are on ESM campus. (2 credits)

Glimpses into the world of standard performance and an overview of the métier of the orchestra conductor. In addition to the ability to read music, and knowledge of basic theory, the participants must have a love for and active interest in symphonic music.

Take a global journey in sound! A perfect opportunity for majors and non-majors alike, this course will broaden your musical horizons, introducing you to vibrant performance traditions from around the world. Through short reading assignments, listening examples, and film clips, we will explore how music fits into a variety of social, political, and religious contexts. Participatory experiences, such as an instrument-making workshop, will also contribute to our understanding of relationships between people, sound, and place.

This study of Jazz, as an American musical art form. Less a strictly chronological approach, focusing on jazz titans, by their seminal and permanent influences, such as Louis Armstrong, Miles Davis, Coleman Hawkins and Charlie Parker. Blues, ragtime, swing, bebop, cool, progressive, and free jazz are terms that will help define that landscape.

This study of Jazz, as an American musical art form, will be structured around the lives and music of jazz musicians, across a range of instrumental, vocal, and ensemble genres. Course focuses on jazz titans, those individuals and musical groups distinguished by their seminal and permanent influences, such as Louis Armstrong, Miles Davis, or Coleman Hawkins or shorter intense careers, such as Charlie Parker. Blues, ragtime, swing, bebop, cool, progressive, and free jazz are landmark terms. And finally, study of the musical history will be enhanced by considerations from sociological, linguistic, and philosophical perspectives. The instructional format includes lectures, discussion and intense emphasis on listening. This course is designed for students with little or no musical training; simple technical, musical vocabulary and concepts will be provided. Reading, listening assignments, brief written assignments and two exams. No prerequisites. (Fall Only)

This course will focus on Jazz music and musicians in the latter half of the 20th century (ca. 1955-2000). We will investigate the relationship of Jazz to the following topics: new musical styles, other art forms, changes in American society, technological developments, and the evolution of recording, broadcast, and news media. In doing so, we will consider not only musicians who first emerged as leaders during this period (Ornette Coleman, John Coltrane, Bill Evans, Herbie Hancock, Keith Jarrett, Chick Corea, Wynton Marsalis, John Scofield), but also those whose careers began earlier (Louis Armstrong, Dizzy Gillespie, Miles Davis, Gil Evans) and continued into the 1950s and beyond. We will also examine how repertoire from previous historical periods came to be viewed by subsequent generations. The instructional format includes lectures and discussion along with in-class viewings/listenings of recorded performances. This course is designed for students with little to no musical training.

Study of Black American Christian musical beginnings, including forms of worship, early musical practices, the Spiritual, evolution of Gospel. An examination of ante-bellum musical activities follows including secular song types, character of the folk music with respect to poetic and musical form, language and themes. Attention will be given to significant literary and aesthetic developments, especially during the Harlem Renaissance and the poetry of several writers of that era will be surveyed. The course will treat Blues, its origins evolution through the 1940s. Surveys of classical music forms from the 18th to mid-20th century; music of the theater from minstrelsy to Broadway; precursors of jazz, the syncopated dance orchestra and brass bands; early jazz to bebop round out the course offerings.

A look at the historical deals and innovations that have impacted the music business between 1877 to present. From ground breaking inventions to brilliant marketing initiatives to hushed back-room deals, this course will expose the key moments where the record industry changed forever, both for good and bad. ** NOTE: This is a 6 week course**

This course explores the history of rock music, emphasizing primarily the period between 1955-1990. Discussion and reading focusing on identifying a variety of rock-music styles within the historical context of the development, transformation, and interaction of pop styles. Issues of technological development, social, political, and cultural context, race and gender, and music-business practices will also be considered. No prerequisites for this course.

A small number of representative operas will be used to highlight the history of this controversial 400-year old art form and its creators, performers, and audiences. Drama, music, staging, spectacle, and dance will be examined as components of production. Divas welcome. Prerequisite: ability to read music.

This course will focus primarily on women composers but will also include material on women as performers, patrons, and consumers, as well as consideration of the role that gender plays in the experience of music. No prerequisite.

The music of the Rolling Stones is examined, starting with the earliest music from 1962 and extending to the early 1970s. Emphasis will be on the band's stylistic development, as well as on the British blues movement of the early to mid 1960s. The music of other blues-based British groups, including Blues Incorporated, the Yardbirds, the Animals, the Bluesbreakers, Cream, and Led Zeppelin, will also be considered. No previous training or ability to read music is required.

The history of the Beatles career and music is explored in the context of the band’s stylistic development, as well as against the backdrop of social, cultural, technical, and music-business events and issues of the 1950s, 60s and 70s. No background in music theory or ability to play a musical instrument is required.

This course surveys rock music in the 1970s, paying special attention to ways in which 70s styles developed out of 60s styles. Artists considered will include Jimi Hendrix, Cream, Yes, Led Zeppelin, The Who, The Allman Brothers, The Eagles, Black Sabbath, The Cars, Tom Petty, The Sex Pistols and Elvis Costello, plus many more. No prerequisites.

Will include a historical overview of music stars and the publicity campaigns used to promote their careers.
From Frank Sinatra-1940s; through Elvis Presley;-1950s; through The Beatles & The Rolling Stones in the 1960s, up through self-indulgent 70s with acts like Elton John, Kiss, and Prince, up to today's high profile campaigns for Justin Bieber, Rhianna and Lady Gaga. Students will be versed in the art of writing an artist bio, press releases, and in the various types of PR events staged to gain publicity, Starmakers will also look at the various types of publicity such as career launching; crisis management(scandals; sudden death of celebrity)and tour press. We will also look at how social media has become a game changer for music publicity.

Intensive practical experience with scene-and-song work in the repertory of popular musical theater genres. Weekly rehearsals and critique sessions, with emphasis on characterization, technical skills, sub-textual dimensions, and stylistic considerations. Some reading assignments, but emphasis is on performance preparation. Initial and concluding videotaping of "audition piece." Prerequisite: One year of voice instruction; permission of instructor (by audition).

An introduction to the history of Western classical music from the Middle Ages to the present, with emphasis on recognition of the chief stylistic characteristics and understanding of major genres of each period. Prerequisite: MUR 112 or permission of instructor.

A survey of the modern musical theater through the works of Stephen Sondheim, from West Side Story through Passion. A brief history of the American musical from Show Boat through the mid-Fifties, then in-depth study of each of Sondheim's major Broadway musicals. Analysis of lyrics, musical forms and idioms, process of adaptation and production.

A historical and critical survey of the Broadway musical, with a focus on its so-called Golden Age (from Oklahoma! to Cabaret). Weekly listening, reading, and video assignments with analysis of dramaturgy, lyric and musical forms, process of adaptation and production, modes of performance. Offered alternate years.

A historical and critical survey of the American musical theater from roughly 1960 to the present, as reflected principally in the works of composer/lyricist Stephen Sondheim and/or producer/director Harold Prince. Analysis of lyrics, musical forms and idioms, process of adaptation and production, modes of performance. Although prior completion of MUR 135A is recommended, students with a strong background in musical theater will be admitted as well. (Fall, alternate years)

Music is inextricably woven into the plays of Shakespeare, and those plays have inspired composers for hundreds of years. The course investigates the musical world of Shakespeare's day, the specific uses of music within his plays, their revivals, and the musical representation of Shakespearean themes by later composers, including Mendelssohn, Tchaikovsky, Verdi and Britten. No prerequisites.

Everyone knows that music can elicit a wide variety of emotions. But whether classical or jazz, punk, rock, or gospel, music also communicates countless other meanings, denoting aspects of race, religion, gender, culture, and politics. This course will explore various ways of thinking about musical meaning. After first building a musical vocabulary, we will discuss many kinds of music in different contexts, including classical and popular music, Broadway and opera, film scores, music videos, advertisements, and religious and nonwestern traditions.

This course is designed for students with little to no experience leading a musical ensemble. After mastering the basics of baton technique, beat patterns, preparations/releases, and cueing, students will gain hands-on experience leading a small ensemble comprised of fellow classmates playing instruments or singing. This course also addresses the joys and pitfalls of conducting choirs, jazz/popular music ensembles, pit orchestras, and a cappella groups. Each student will be given the opportunity to conduct a large instrumental ensemble as a “final exam.” Assignments will include short readings and research on various aspects of conducting, with the bulk of the course work taking place in class.

Behind the screaming guitars, thundering pulse, and soaring vocals of heavy metal music lies an impressive history of censorship, rebellion, and redemption. Emphasis on musical structure and the fascinating social/cultural history of hard rock and metal. Over 40 years of hard rock and metal trends will be discussed— Sabbath to Stryper to Slipknot—and several guest musicians and lecturers will complement the course materials with performances and anecdotes.

This course explores how and why pop musicians create concept albums: full-length studio albums organized around a single compositional or narrative theme. Examples include Quadrophenia (1973) by The Who, The Wall (1979) by Pink Floyd, American Idiot (2004) by Green Day, and the seven-part Metropolis series (2007-present) by Janelle Monáe. In addition to developing a broad perspective of the concept album’s significance within popular music history, students will analyze one concept album of their choice and will share findings via a class presentation and final paper. Prerequisites: MUR 110 or 111, or permission of instructor.

The Women’s Chorus is a choral ensemble of female students from across the university who perform a wide variety of music in concerts throughout the semester. Participants will have the opportunity to develop healthy vocal production and musicianship skills. To join, simply register for the class. Auditions will be arranged during the first week of classes.

The Men's Glee Club continues the century-old tradition of singing at the UR. Students, faculty, staff and community members performs a wide repertoire of music. The men's and women's glee clubs regularly combine with various instrumental groups to perform large oratorio style works. Auditions will be held during the first class.

Chamber Singers is a select 28-to 32-member ensemble which performs a cappella and chamber music from the 14th to the 21st centuries. The group is as comfortable singing jazz as performing Renaissance motets. All members of the undergraduate and graduate student body are welcome to audition for the ensemble. Auditions are held every semester.

URSO (Symphony Orchestra) is a university-civic orchestra whose members are selected from both UR student body and greater Rochester community. Membership through auditions, occurs prior to the first rehearsal of each season. Other auditions may be held as needed throughout the season.

URCO (Chamber Orchestra) Membership is limited and is granted by the music director through competitive auditions, which occur prior to the first scheduled rehearsal of each season. Auditions may be held as needed during the academic year.

The chamber music program facilitates formation and coaching of serious advanced chamber ensembles. One academic credit may be earned by registering and successfully completing all requirements listed under course work. Admission by permission of the coordinator.

Wind Symphony draws its membership primarily from the student body on River Campus and performs music of various styles, genres, and eras. Membership by audition. Coursework: One rehearsal per week; individual practice. At least four concerts per academic year. Attendance required at all rehearsals, dress rehearsals, and concerts, unless excused in advance by conductor.

One rehearsal per week. Two concerts per semester. In addition, there may be off-campus performances in local colleges, churches, and other venues in the greater-Rochester community. The Gospel Choir performs a varied repertoire of sacred music -- spirituals, hymns, traditional and contemporary Gospel, music of the praise-and-worship genre. (Fall and Spring) (1 credit)

Weekly one-hour private studio instruction with our artist-in-residence, Ms. Zora Mihailovich. Comparable to Eastman's PA 160, with occasional master classes, group workshops and coaching. Designed for advanced students to develop their abilities for piano performance by learning new repertoire, improving piano skills/technique and learning how to practice efficiently.

A descriptive and critical analysis of the nature of electronic mass media, broadcast practices and impact. Designed to provide a broad, rigorous orientation for understanding basic elements of media production as well as skills training in reporting, writing, editing, delivery and production of broadcast media.

One rehearsal per week. Two concerts per semester. In addition, there may be off-campus performances in local colleges, churches, and other venues in the greater-Rochester community. This workshop ensemble performs a varied repertoire of sacred music -- spirituals, hymns, traditional and contemporary Gospel, music of the praise-and-worship genre. (1 credit)

Ensemble dedicated to dynamic percussive traditions of Guinea, combining the iconic djembe hand drum with a trio of drums played with sticks, known as dunun, sangban, and kenkeni. The powerful, multi-part relationships established by this trio of drums provide a rhythmic foundation, enabling djembe players to develop technique in executing accompaniment and solo parts. Fana engages ensemble players with a wide repertory of music from various regions of Guinea, including the rhythms of the Susu, Malinke, and Baga language groups. Intro and Advanced sessions offered each semester.

Led by Master Drummer Fana Bangoura, the West African Drumming Ensemble is dedicated to the dynamic percussive traditions of Guinea. The ensemble combines the iconic djembe hand drum with a trio of drums played with sticks, known as dunun, sangban, and kenkeni. The powerful, multi-part relationships established by this trio of drums provide a rhythmic foundation for the ensemble, enabling djembe players to develop technique in executing both accompaniment and solo parts. Drawing upon his experience as a soloist with the internationally acclaimed groups Les Percussions de Guinée and Les Ballets Africains, Fana engages ensemble players with a wide repertory of music from various regions of Guinea, including the rhythms of the Susu, Malinke, and Baga language groups.

In this course, students will work on expanding their repertory of rhythms from Guinea, West Africa, and on improving their playing technique on the djembe, dunun, sangban, and kenkeni. In particular, we will concentrate on learning extended solo sequences for the djembe, and more advanced arrangements played on the dunun, sangban, and kenkeni. Students will also work on developing skills specific to performance, adding choreographed onstage movement to complement their drumming.

Brass Choir is a 35-45 member ensemble dedicated to performing quality brass music at a high level while fostering a spirit of community among brass players on the RC. Open to experienced trumpet, horn, trombone, euphonium, and tuba players.

A serious contemporary ensemble that performs works from the standard percussion ensemble repertoire, occasionally the less standard, and brand new compositions for this genre. Some of the composers whose repertoire we have performed in the past consist of Hollinden, Rouse, Beck, Cowell, Peck, Cage, and Andriessen. Prior experience in percussion, the ability to read music and an audition are required.

The Rock Repertory Ensemble is devoted to performing accurate versions of songs from the rock music repertory, with selections ranging from the early 1950s to the present day. Open to guitarists, bassists, drummers, keyboard players, and singers, with consideration given to winds players depending on repertory for a given semester. Audition required.

This is an introductory guitar class that will teach guitar fundamentals and get students playing popular, rock, blues, classical, and simple jazz tunes by the end of the semester. This course is open to all guitar enthusiasts as well as music majors/minors seeking a 'methods class' approach to learning the instrument. Electric and acoustic guitars welcome. Contact Professor Bob Sneider bsneider@esm.rochester.edu with any questions.
TA led organized practice sessions TBA

Intro to Classical Guitar: Intro to Classical Guitar will introduce students to rudiments of classical guitar technique, including tuning, basic posture and position, chord formation, note reading, and introduction to repertoire. Basic ensemble techniques will be incorporated into class sessions.
By the end of the semester, students will be able to:
- Individually perform beginning classical guitar repertoire
- Accompany songs with arpeggiated technique
- Sight-read assigned music selections, using standard music notation

Many people love pop music for its simplicity, but this course will reveal that pop music can often be surprisingly complex in the ways it projects structure and creates musical relationships. Many dimensions of pop music will be analyzed, including harmony, melody, rhythm and meter, texture, form, recording technique, and text-music relationships. Prerequisites: MUR 112.

Survey of Western classical music through 1600, including the investigation of style, genre, transmission, contemporary theory, patronage, cultural context and meaning, etc. Workshops deal with topics such as transcription and performance practice. Prerequisite: Completion of or current enrollment in MUR 111. For sophomores and above.

Survey of Western classical music from ca. 1600 to the mid-eighteenth century, with emphasis on the stylistic, generic, and performance innovations of the period; opera receives special attention. Workshops investigate specific problems posed by notation, performance, ethics, and so on.

The history of western art music from approximately 1730-1850, with an emphasis on analysis of the masterpieces of tonal music and their relationship to society and other arts. Lectures with extensive listening, reading, and analysis.

History of western art music from approximately 1850 through the present, with emphasis on the changing meaning of "New Music" and its role in society. Analysis of post-Wagnerian tonal music and non-tonal alternatives. Lectures, with extensive listening and reading, as well as analytical assignments.

This course is designed for upper-level undergraduate music majors and graduate students in music. We will analyze the music of the Beatles in detail, focusing on issues of form, harmony, textural coordination/stratification, lyrics, instrumentation, rhythm/meter, and production.

Seminar course designed for graduate/advanced undergraduate music students having a strong background in music history and analysis. Closely examining music of 1970s progressive rock bands, with emphasis on Yes, Genesis, King Crimson, Emerson Lake & Palmer, and Gentle Giant. Students will transcribe passages, closely analyze, and consider music in terms of issues of form, texture, harmony, melody, instrumentation, as well in relation to a variety of music-historical and aesthetic contexts.

Addressing the devastating effects of HIV/AIDS in the United States, United Kingdom, Tanzania, Zimbabwe, Uganda, Haiti, and elsewhere, this uniquely interdisciplinary course will incorporate insights from the fields of public health, medical anthropology, and ethnomusicology. Studying the HIV/AIDS epidemic through the lens of musical expression, we will ask how individuals and communities affected by HIV/AIDS have mobilized musical sound in response to the disease. Topics addressed within the class will include musical representations of HIV/AIDS within queer communities; the use of music in public health campaigns to raise awareness about the disease; and the mobilization of musical performance within grassroots support groups for individuals affected by HIV/AIDS.

This course is designed for upper-level undergraduate music majors and graduate students in music. We will analyze the music of the Beatles in detail, focusing on issues of form, harmony, textural coordination/stratification, lyrics, instrumentation, rhythm/meter, and production.

Seminar course designed for graduate/advanced undergraduate music students having a strong background in music history and analysis. Closely examining music of 1970s progressive rock bands, with emphasis on Yes, Genesis, King Crimson, Emerson Lake & Palmer, and Gentle Giant. Students will transcribe passages, closely analyze, and consider music in terms of issues of form, texture, harmony, melody, instrumentation, as well in relation to a variety of music-historical and aesthetic contexts.

Addressing the devastating effects of HIV/AIDS in the United States, United Kingdom, Tanzania, Zimbabwe, Uganda, Haiti, and elsewhere, this uniquely interdisciplinary course will incorporate insights from the fields of public health, medical anthropology, and ethnomusicology. Studying the HIV/AIDS epidemic through the lens of musical expression, we will ask how individuals and communities affected by HIV/AIDS have mobilized musical sound in response to the disease. Topics addressed within the class will include musical representations of HIV/AIDS within queer communities; the use of music in public health campaigns to raise awareness about the disease; and the mobilization of musical performance within grassroots support groups for individuals affected by HIV/AIDS.